Producing Underwater Artwork

Earlier this year I was asked by a gallery to produce a quick video talking about the production involved in my recent Underwater Series "The Imaginarium". Since then I have really noticed the necessity of speaking with people about the work as I find that if people aren't told, they think the work is purely Photoshopped. I thought it would be excellent to put together a blog post answering some questions for the curious people, the fellow photographers who email me and those who are still deciding whether or not Photography creeps into the art realm (which I think it does!!!). 

Photography is Art!

The Imaginarium: Process of Producing Underwater Art

The Imaginarium is a year’s worth of planning, sourcing and preparing to create the most dreamlike, yet realistic underwater ethereal series.

This body of work wasn’t just about the process on the day or the post production, but really what made it come together was the hours of hand painting props, visualising scenes and colours plus the intricate set up previous to shooting. Each scene is shot in a domestic pool you could find in your friend’s back yard. From there the pool was transformed into a wonderland by balancing, weighing, tying and suspending a huge variety of objects which react differently when put in an underwater environment. 

"L'imperatrice"

A lot of the props like the water lillies, air balloons and large shoes were made from a plastic material which could hold paint colour without peeling. There were two different scenes where the water lillies were used and had to be repainted because I had to experiment with layers of paint to continue to sustain being wet. 
One of the largest most exciting props made was The Imaginarium sign. That was over a metre of timber hand painted with homemade stencils and different patterned stencils I found at a garbage shop. Being one of the heavier props, and having to make it stand up, it took a few hours to really make sure it was balanced correctly to get the right perspective, which was one of the most difficult tasks, especially in creating 3d like props. 

 
The models were amazing, working with Brooke & Izzy who are both very natural being underwater was a real pleasure. On top of that, the hair and the makeup seen in the images are real, Kylie Eustace, owner of her own range of mineral products “Mineral Goddess” made each of these scenes come to life with the use of hair and makeup to fit each theme we created. Detailed thought of planning the theme and way to make it last underwater was a task I could only trust Kylie to achieve in the best way possible. On top of that I had to pleasure of using some amazing Couture designs by Begitta, with scenes taken from her own collections and custom made it all tied together to make the scenes a real dream. 

Kylie Eustace Working on Isabelle's hair

Brooke Jamieson - incredible underwater wearing a Begitta Gown

"Water Lily" Starring Brooke in a Begitta gown

I have been asked two major questions in the underwater stuff that I create...am I underwater with the model. Yes, I absolutely am. I have weights helping me sink and we both go under together. 

"Desiderata" on the left - A Behind the scenes look at the scene "Antonio" ft Aidan McCarthy on the right

The second thing is more of a constant question and often people haven’t believed me when we talk about the involvement of Photoshop in my artwork. I wanted to clear this up and talk about the involvement of Photoshop within this work. 

All the props in the images were in the pool and suspended on the shoot. If anyone was there with me, and they put on my goggles and looked underwater, they would see the scene as it is. So what is different about the final image?? There may be a wonderful image of the model, everything is perfect about her but one of the props has spun and turned on its side. This is where Photoshop is mostly used for me; I take different images from the scene and blend them together to bring all those perfect elements to make the scene, which I originally visualised. 

Aside from these adjustments to props, or tiles in the background I need to blend with the rest of pool, we have colour alterations. I put as much colour in the props, or in the lighting, hair and makeup etc as I can. I create backdrops, which are put in the pool to set the mood or help with the theme. But at the end of the day, when you put anything underwater the colour fades, it is never crystal clear (unless you live at the Bahamas) I can only do as much in camera as possible. From there I accentuate the colours and the shading to suite the image and the scene. Is this cheating? No this is part of the artwork, the emotive factor and the thing that transforms the image to its final stage of magical completion. 

Film still from scene "The Chase" on right

 

This is the extent of my photo shopping within my work, it is both very involved and yet not possible without a quality, technically correct, well thought out image which I have put together myself from the ground up. 

 

"Vesuvius"

I have loved building this series, and the time spent has been very rewarding. Underwater is a wonderful world, and one that is still mostly untouched. 

Beth Mitchell works hanging in London early 2014

Pictures from a solo exhibition earlier this year

 IMAGE CREDITS

Photography & Creative Direction: Beth Mitchell Photography
Garment Design: Begitta
Hair/Makeup: Kylie's Professional
Models: Brooke Jamieson & Isabelle Faith